Review by Josip Martinčić
⭐️⭐️⭐️
Yasser is a wannabe TikTok influencer, battling his addiction to the social media app (amongst other things), the expectations of his family, his complicated feelings about the loss of a dear friend and his uncertainty about the role of religion in his life. Throw in a last-minute offer to take part in itikaf, which sees him spending the last 10 nights of Ramadan in the mosque in semi-isolation, and you get this 80 minute one-man play, running at Riverside Studios.

The original run of 10 Nights at the Bush Theatre was nominated for Outstanding Achievement in an Affiliate Theatre at the 2022 Olivier Awards. It is now making its return to the London stage following the run at the Omnibus Theatre last year when it was performed by Azan Ahmed (Offies nomination for best solo performance). The timing of the programming of the show in the calendar year coincides with the plot, with Ramadan around the corner, making for a clear connection to the audience who recognised the cultural reference throughout with knowing chuckles.
The script by Shahid Iqbal Khan is filled with humour and poignancy in equal measure, as navigating Yasser’s uncertainty is both entertaining and educational. It can at times come across a bit preachy, like a lecture on the importance of religion rather than the window into this character’s experience. The play races through the 10 nights from the title, partly in the form of a memory play and partly a meditation and a religious experience, but one that is honest about the sinners and full of swearing. This detailed look into the practice of itikaf on the one hand feels a little voyeuristic, as we experience the quiet contemplation of prayer, but it does, on the other hand, represent the performative nature of cultural and community events.

The stage evoked the setting of the mosque, which was cleverly illuminated by versatile LED strips. These were used throughout, pulsing energetically during transitions and flashing deep blue during the moments of physical tremors which represented emotional wobbles. The eclectic pre-show playlist set an energetic tone which resonated well with the audience. The soundscape which was used during the transitions was calmer and meditative, mirroring the main character’s journey. Simple illustrations were projected on the back wall at times to help set the scene, but this came across as juvenile and redundant, as the performance by Adeel Ali and the use of space worked well on their own.
Adeel Ali had good physicality and the performance was an impressive feat, however the energy was uneven at times, and a stronger clarity between different characters would have been helpful. He gave Yasser an endearing emotional vulnerability and the audience was gripped, following along with his journey of self-discovery. Sâmir Bhamra’s direction is clear, using the space well and mining the scripts for moments of stronger connection with the audience. There are references to TikTok trends, and it was a clever device to equate the sound of the passage of time, the ticking clock, with Yasser’s craving for the social media app during the itikaf. Surtitles were projected on the back wall in English and Urdu and this could perhaps be another TikTok reference, as it gave it an FYP appearance, but it also demonstrates the multicultural richness on display in this play.

Phizzical Productions, who are behind this run, state that they ‘passionately bring new perspectives to their stories that entertain and engage audiences’. 10 Nights is certainly a funny, entertaining and educational cultural experience, fitting into their mission statement. I can’t think of a better introduction to or a reminder of itikaf.
10 Nights plays at Riverside Studios until 26th January. Following a three-week run in London, a short tour in January and February will see this play performed in Derby, Salford, Huddersfield and Birmingham.
London tickets at https://riversidestudios.co.uk/see-and-do/10-nights-137618/
Photos by Rishi Rai